


A Queer Reading of Moriarty and Moran in Sherlock Holmes: A Game of Shadows

by tiger_moran



Category: Sherlock Holmes & Related Fandoms, Sherlock Holmes (Downey films)
Genre: Analysis, M/M, Meta, Queer Analysis, Queer Themes, Symbolism, not fanfiction
Language: English
Status: Completed
Published: 2017-08-10
Updated: 2017-08-10
Packaged: 2018-12-12 01:13:35
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 17,855
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/11726436
Author URL: https://archiveofourown.org/users/tiger_moran/pseuds/tiger_moran
Summary: A queer reading of Professor James Moriarty and Colonel Sebastian Moran and their relationship in the film Sherlock Holmes: A Game of Shadows (2011)





	A Queer Reading of Moriarty and Moran in Sherlock Holmes: A Game of Shadows

**Author's Note:**

> Largely written because I got so, so sick of having to wade around all the posts about 'gay subtext' for Holmes and Watson for pretty much every single Sherlock Holmes verse ever only to find precisely nothing about Moriarty and Moran, except when occasionally people bring them up to insult them/their relationship or use something about them as "evidence" somehow that Holmes/Watson is canon. In other words yes I did write 16000+ words of queer analysis of Moriarty/Moran in Ritchie's films almost entirely out of spite. Well someone had to.

A great deal has been written in terms of queer analysis talking about the supposed 'gay subtext' of various incarnations of Sherlock Holmes and Dr John Watson. Very little though seems to have been written addressing Holmes's 'nemesis' Professor James Moriarty and his right hand man, Colonel Sebastian Moran, despite them being one of the pairings in the canon with the most obvious queer potential. My aim with this article is therefore to attempt to address this imbalance at least a little and provide a queer reading of Professor James Moriarty and Colonel Sebastian Moran and their relationship in the film _Sherlock Holmes: A Game of Shadows_ (2011, directed by Guy Ritchie). I will be conducting much the same sort of analysis as I've seen applied to Holmes and Watson elsewhere, looking at plot and visual elements and discussing how these can be viewed from a queer perspective as evidence that Moriarty and Moran and their relationship are queer.

Professor Moriarty appears in _Sherlock Holmes: A Game of Shadows_ played by Jared Harris, although Moriarty did also play a minor but fairly significant role in the first Guy Ritchie _Sherlock Holmes_ (2009) film although he was not shown fully there. Sebastian Moran appears in _Sherlock Holmes: A Game of Shadows_ played by Paul Anderson. Although they are canonically relatively minor characters and were introduced separately, Moriarty in _The Adventure of the Final Problem_ and Moran in _The Adventure of the Empty House_ , they both appear throughout _Sherlock Holmes: A Game of Shadows_ including being shown in scenes together.

  
_Image: Holmes initially walking straight past Moran, only turning around several paces after he has passed him to look at Moran, who deliberately looks straight at him before turning away, from Sherlock Holmes: A Game of Shadows_

Moran appears very early on in the film being implied to have just murdered Dr Hoffmanstahl, whom Holmes saves from death by explosion only to find him shortly afterwards in the street having been shot with a poisoned dart. Another character, Rene Heron, is later murdered using another dart containing poison fired from a rifle cane by Moran, confirming that Moran most likely used the same weapon to dispatch Hoffmanstahl. Here then we have the first in a sequence of phallic symbolism being used by Moran and/or Moriarty as a means to kill people. Hoffmanstahl was 'penetrated' to death by a phallic symbol (the needle/dart) fired by a phallic weapon (rifle cane) by Moran on Moriarty's order. Perhaps it is significant that Holmes rescues Hoffmanstahl from being blown up (a more violent but less sexually symbolic death) only to drive him towards Moran, who murders him in a far more sexually symbolic way, which is particularly striking because of the location of the dart. We are shown a close up of this, revealing that the dart entered into his inner thigh, itself perhaps vaguely suggesting ideas of intercrural sex, and this shot also gives us a momentary close up view of Hoffmanstahl's crotch area, further emphasising the symbolically sexual nature of the killing. This is the first death to be shown fully in the film where anyone else who tangles with Moriarty or Moran gets hurt or killed, often in a suggestively sexual way if they are male.

  
_Image: close up shot of Dr Hoffmanstahl's upper thigh/crotch area showing the poison dart that has killed him stuck in his leg, from Sherlock Holmes: A Game of Shadows_

Irene Adler is also killed soon after this with both Moriarty and Moran present. She is however killed not with some manner of 'phallic' weaponry (guns/bullets/darts) but it later appears that she was poisoned, the poison presumably delivered in her tea. Although there have been famous male poisoners throughout history, poisoning is often deemed to be more typically a woman's way of killing, likely in part because it requires little physical strength. The use of poison therefore coupled with Moriarty's overall demeanour (neatness, seemingly buffed fingernails, love of music, soft-spoken voice) may indicate firstly that he is a man who does not feel rigidly bound by the gender rules and norms or feel a need to appear as 'hyper-masculine', even though he does have more typically masculine interests also. This willingness to go against the gender norms may also encompass him choosing to have intimate relationships only with men, rejecting the heterosexuality that is frequently intrinsically connected to masculinity by a heteronormative culture.

The use of poison though also seems to have another level of meaning, especially when compared to the deaths of male characters including Dr Hoffmanstahl, the arms factory owner Meinhard and the character Simza Heron's brother Rene, amongst others, who are all killed with 'phallic' objects (guns, bullets, darts) by Moriarty or Moran or because of them. This would seem to suggest that Moriarty has some kind of aversion to the use of 'phallic' weaponry on a woman, indicating that he has no desire to penetrate a woman even in a symbolic way as he has no interest in literally penetrating women either, preferring to have sex only with men.

The character Simza Heron is also supposed to be assassinated by a Cossack assassin sent by Moriarty, although the execution is foiled. It is interesting here too that when it is a woman who is to be killed, Moriarty does not send Moran to kill her. Perhaps using Moran, particularly using Moran to kill a woman in a way that is sexually suggestive i.e. with a penetrative weapon, is something Moriarty dislikes because it too closely connects him to women in a way that is subtly reminiscent of sexual interaction with them. Even when he tries to have Watson and his new wife Mary killed together on the train, again he does not use Moran for that, yet he does send Moran simply to give Holmes the message to meet him, which is seemingly to Moriarty a task of importance that he would not give to just anyone. The inference is Moriarty is not keen on associating closely with women even by proxy (i.e. through Moran); clearly it is only men he is far more comfortable with in a more 'intimate' manner.

  
_Image: Moriarty almost entirely concealed in the shadows in the first Sherlock Holmes film and Moriarty seated in the restaurant still largely in shadow in Sherlock Holmes: A Game of Shadows_

Professor Moriarty first appears in the film in a restaurant, seated in the shadows, hidden by a curtained partition and only revealing himself in the light after speaking to Irene Adler through the curtain for some time. It is to be noted that several times within the film both Moriarty and Moran are shown in the shadows or partly concealed. Moran's first appearance is as part of a crowd as someone who Holmes initially walks past and only after he has walked past him does Holmes essentially do a double take and turn around to stare at Moran, who appears to actively want Holmes to notice him in what is almost a flirtatious manner. Then later backstage at the opera Moran is shown sitting concealed in the shadows, only revealing himself to the viewers fully when Holmes, Watson and Simza have passed by him. Towards the end of the film too when Moran assassinates Rene, again he is concealed off to the side, almost invisible until he reveals himself to the viewers and is noticed by Watson. This was something also present in the first _Sherlock Holmes_ film where though Moran did not appear, Moriarty appeared but was always cloaked in shadows so deep his face could not be seen and only his hat, gloved hands and parts of his other clothing or accessories were visible, almost like the Invisible Man. And even when fully revealed, Moriarty is still concealed or invisible in some sense – he is the criminal mastermind concealed in plain sight, with his criminal nature being invisible to most of those around him. He is even friends with the Prime Minister, seemingly emphasising how well he has concealed his criminal side behind his respectable front. An element referred to in the film is the idea that “it's so overt it's covert”, or the idea of concealing something in plain sight. This seems to be often interpreted to refer to Holmes and Watson's love for each other but is equally or perhaps even more applicable to Moriarty and Moran (after all Watson marries Mary in the film and Holmes was shown to have some manner of probably-romantic interest in Adler but neither Moriarty nor Moran are shown to have wives or girlfriends).

  
_The coded note brought to Moriarty by Moran during the book-signing, from Sherlock Holmes: A Game of Shadows_

This ties in with the idea of Moriarty and Moran communicating with each other through codes and non-verbal means in front of other people, such as Moriarty's signal to Moran to tell everyone to leave when Adler is killed, or Moran passing the coded note to Moriarty at the book-signing, as well as the fact that Moriarty is living a dual life as both a respected mathematics professor and as a criminal mastermind whilst Moran was formerly a soldier in the British army and, at least up to a point, seems to have been respected. Moran also openly kills some people but using hidden means – he kills Dr Hoffmanstahl and Rene Heron in front of many potential witnesses but using a concealed weapon. Their intimate relationship is also something likely they are concealing in plain sight, toying with the conventions and social norms of the day to trick people into believing their relationship is entirely respectable while it is (by the laws and standards of the day) in fact illegal and 'immoral'. In the late Victorian era, the homosocial nature of society and the very different attitudes then towards gender and sexuality from those we have today meant that even though male homosexuality was harshly punished, men were granted a degree of freedom to be intimate with each other in ways that would often still then be seen as entirely 'innocent' or purely platonic, but in the modern day would now likely be seen as 'suspect' or, in short, gay – behaviours such as walking arm and arm together or even, under certain circumstances, dancing together (as demonstrated by Holmes and Watson in the film). Therefore although sadly men who fell in love with or had consensual sexual relations with other men were criminalised at that time in Britain, they may still have had some ways to conceal their same-gender romantic or sexual interest behind actions that were deemed totally innocent and acceptable by society largely because the idea of someone actually being gay or bisexual had not yet become fully developed or acknowledged. Moriarty and Moran are hiding one facet of their identities – their criminal natures – in plain sight. Very likely they are hiding another also in plain sight, their attraction to and intimate relationship with each other also, utilising codes and double-meanings to communicate relatively openly and passing off their relationship as being a working relationship.

There is of course also the obvious inference that because Moriarty and Moran are the criminals in the film, the ones shown committing serious crimes, they are the ones far more open to indulging in other behaviours then deemed to be criminal, and perhaps even the ones far less tormented by their sexualities. Such criminal behaviours then would include having consensual sexual relationships with men, actions which are not intrinsically harmful and have (since the era when the film is set) rightfully been decriminalised. But because those actions were illegal in Britain at that time it seems more likely that the 'bad guys' who clearly have no issue with routinely breaking the law would be more willing to participate in such acts than the 'good guys'. Suggestive too is Holmes, during the scene where they both first meet Simza Heron, implying that Watson is repressing something. An inference of this, especially so soon after Watson's wedding, is that Watson is a repressed bisexual or gay man who is in denial about having an attraction to Holmes. As Watson is the more respectable one of the pair while Holmes is the more eccentric, more 'Bohemian' one, it seems more likely that he in particular would be troubled by having intimate feelings for another man. But Moriarty and Moran maintain a respectable front whilst routinely breaking the law. If they are not troubled at all by committing serious crimes, they are hardly likely to be troubled by having an attraction to each other or by participating in a romantic/sexual relationship with each other. Out of the two pairs of men then it seems just as likely or even more likely that it would be Moriarty and Moran rather than Holmes and Watson who would embrace a romantic/sexual relationship with each other. 

The use of shadows and the sense of concealment and even invisibility is also intrinsically suggestive of queerness. When heterosexuality is the majority and considered the 'norm', those who don't fit that norm frequently get erased or overlooked, and lesser known orientations such as asexuality still frequently tend to get overlooked and remain 'invisible' even when other better known ones, such as being gay, are acknowledged, so Moriarty's invisibility may be doubly suggestive that he is asexual as well as being gay. Bisexuality too is an orientation often erased when people propagate the idea that straight and gay are the only possible options so while they probably do have a relationship that may be described as gay and perhaps so too can whatever intimate inclinations Moriarty does possess, Moriarty and Moran are in themselves probably even less visible orientations, likely asexual and bisexual.

  
_Image: Moran (circled) hiding in plain sight but in the shadows, backstage at the opera when he is going to kill Meinhard, and at the gathering where he has just killed Rene Heron, from Sherlock Holmes: A Game of Shadows_

Of course the use of shadows (including in the name of the film) is in part about Moriarty and Moran being serious criminals and committing some genuinely bad crimes. But it also seems deeply symbolic of being closeted about another 'crime' - their sexualities and especially their intimate relationship. Because of the setting this would be something that they would essentially be forced to keep a secret because they would risk arrest and prison simply for loving each other and having consensual sex together. The shadows therefore both represent and conceal this aspect of the pair, an aspect which unlike their other crimes does not intrinsically cause any harm to anyone, although they do reveal themselves and are not in the shadows or 'closeted' throughout all their time on screen. They are even shown positively interacting with each other, which suggests that while they do keep their intimate relationship a secret from others, they are not closeted about their feelings when it comes to each other. It is perhaps also significant though that Moran kills Hoffmanstahl in a secretive way but in a public street in broad daylight with many people around and kills Rene at the formal gathering again in front of many people, both of them with the same or at least very similar 'phallic' weapon. This is also suggestive that though both are closeted about their sexualities and intimate relationship by necessity, they are not closeted themselves about their desires and may flaunt their proclivities from time to time when they do feel able to get away with it as a way to mock and sneer at polite society and the law against homosexuality.

During the scene where Adler is killed, when Moriarty lays the pencil down and places his hand down flat over it, clearly this is the signal to Moran to direct everyone else to leave. This may be mirrored later by Moran's finger tap on the coded note he passes to Moriarty at the book signing and both demonstrate how Moriarty and Moran communicate through codes and gestures as much as verbally. This clearly indicates that they are two men who know and understand each other, whilst the use of coded gestures and literal codes later also implies secrets. Obviously much of their serious criminal activity (murder, theft, terrorism etc) would have to be kept secret but something that by necessity (because of the laws of the time) they would also have to keep secret would be a same sex relationship, yet through the use of codes and signals they may flaunt their illegal relationship publicly, in a way only those others who do understand the codes and double meanings will recognise.

  
_Image: Moran watching Moriarty, waiting for the signal to tell everyone else to leave; Moriarty signalling to Moran by placing his pencil on the table with his hand over it, from Sherlock Holmes: A Game of Shadows_

Moran's focus on Moriarty's hand and pencil are very suggestive of Moran having some kind of almost erotic fixation upon Moriarty's hands and on a phallic symbol belonging to Moriarty, which can be easily construed to mean Moran is also fixated on Moriarty's own actual phallus. The linking of fingers or hands with a rather phallic object may also suggest the linking of hands/fingers with sex or sexual elements (e.g. fingering, masturbation), suggesting perhaps exactly what kind of sexual activities the pair enjoy, and where Moran is clearly focused on Moriarty's hand and 'phallic' pencil this links the two of them with such acts. Moriarty placing his hand over his lowered pencil seems to form a cue for Moran to immediately react to signal to everyone else, therefore Moran clearly _is_ focused on Moriarty's pencil ('phallus') and his hands, turning his face away only when he has given the signal to everyone else. Hands or fingers and phallic objects are also linked elsewhere in connection to the pair, with close ups of Moran rolling cigarettes or him assembling his rifle, or again showing Moriarty holding a pen or pencil during the book signing scene or just before he tortures Holmes. Moran also appears to be looking at the Professor's hands again during the book signing. The repetition of such imagery is highly suggestive.

  
_Image: Moriarty and Moran left alone with Adler in the restaurant in Sherlock Holmes: A Game of Shadows. Moriarty is A, Moran is B. Adler is to the viewer's right of Moriarty. This demonstrates that Moriarty and Moran are directly facing each other._

During this scene everyone else leaves – all of the other patrons of the restaurant and the staff - leaving just Adler, Moriarty and Moran in the room. But Adler is dead very soon afterwards leaving just Moriarty and Moran, who, though they are sitting at separate tables, are clearly facing each other. Again this is suggestive of, at the very least, a rejection of heteronormativity, perhaps even the embracing of a far more queer narrative. Two men who clearly trust each other and are attuned to each other are left alone in a room facing each other with no one else present save for the dead 'Female Love Interest'; it is very far from heterosexual.

This is Moriarty's only interaction with a woman during the film and she dies during the scene. Despite being canonically unmarried, some other portrayals of Moriarty have attempted to provide him with a wife or female 'love interest', such as in the film _Hands of a Murderer_. In _A Game of Shadows_ though it is never even suggested much less shown that Moriarty has a wife or girlfriend and his interest in Adler seems to have been professional only, using her for his criminal purposes for as long as she was useful to him, then disposing of her when she became too much of a liability because of her feelings for Holmes. He does not touch her even to kill her as it seems that either her tea or the teacup contains poison which was delivered by a waiter and Moriarty does not show any sexual or romantic interest in her. That she was also seen as Holmes's 'love interest' in the first _Sherlock Holmes_ film and she now dies very early on in its sequel implies that Moriarty has no interest in Adler directly as anything other than an employee but also more broadly that he has no interest in her as representative of 'female love interests' generally. He drinks his tea and seems largely indifferent to the sound of Adler collapsing and dying, further showing his indifference towards the concept of the female love interest. He is later shown to only come close to touching her in order to take her handkerchief (and this only to taunt Holmes with, not as some memento for himself) as she lies dead or very close to death. This does not seem though that it is simply an act of misogyny on his part – he employed Adler and relied on her to carry out certain tasks for him for a time after all, and though he kills her off this is no different to how he treats many male employees and he does so in a way that is actually comparatively less violent than her male counterparts. Moriarty's attitude to people overall seems to be 'are they useful or interesting to me?'. If they cease to be useful or interesting to him, he is perfectly willing to sacrifice them. Adler's death therefore does seem suggestive of Moriarty's rejection of the idea of women as 'Love Interests' rather than a general hatred of women. He seems comfortable with touching the 'Female Love Interest' here only when she has been 'neutralised', suggesting his contempt for that archetype. It is also surely significant that Irene Adler is disposed of even before the actual proper start of the film, early on establishing not simply Moriarty's ruthlessness in disposing of people who betray him or he has no further use for but also his feelings towards women as romantic interests. Meanwhile Moran remains in the room with him, probably the only other living person in the room, suggesting that the only 'love interest' for Moriarty is indeed Moran.

  
_Image: Irene Adler in the foreground, Moran in the background, hands folded in his lap and his face resolutely turned away from her, from Sherlock Holmes: A Game of Shadows_

During this scene, after Moran has signalled through tapping a spoon against a glass to everyone else to leave, he sits and places his hands together in his lap almost directly above his crotch area. Considering how often later his crotch area seems to be exposed, even perhaps openly flaunted, especially when he is addressing men, this seems significant here. His face is also deliberately directed away from her as if he refuses to look at her. This might be seen as a total rejection of the 'female love interest' idea by Moran too if he is presumed to be gay or, if he is taken to be bisexual (as I believe he is), his symbolic rejection of her here implies he is rejecting women presently because while he may still potentially have an interest in some women, he has entered into a committed relationship with Moriarty. Of course it also implies he has no romantic attraction towards Irene Adler herself as well as signifying a broader rejection of women as romantic interests. His disinterest in her may also be intrinsically suggestive though that Moran is bisexual and capable of feeling attraction towards women as well as men precisely because he does look away from Adler, thereby suggesting while he is aware that she has become too much of a liability to them and therefore understands Moriarty's motivation for having her killed, his fondness for women means he does not actually wish to see a woman die. Also while he is complicit in Adler's death, Moran is not shown anywhere in the film to actually kill women, only men. Other assassins are sent to kill Simza Heron and Mary Watson (alongside John Watson) while Moran is shown killing only male characters. This may also imply that Moran has a soft spot for women, perhaps even regarding them more fondly than most men, because he is bisexual and Moriarty, being aware of this, uses Moran primarily only to kill men so as to avoid Moran's loyalty to him clashing with his issues of conscience over killing women. This could mean then that Moriarty does care for Moran as he is willing to consider Moran's feelings and show a degree of leniency towards him that he does not demonstrate towards anyone else. 

  
_Image: Moriarty, shown against a red backdrop, drinking tea while Adler dies, from Sherlock Holmes: A Game of Shadows_

Also of note in this scene is the use of red backgrounds behind Moriarty and Moran. Red will be a colour that recurs throughout the film often in association with Moriarty, most noticeably perhaps through his use of a red notebook (in which, it is revealed, he records in code details connected to his criminal activities) which is shown here on the table in front of Moriarty, but in other elements too connected to him. This is especially striking when much of the film is rather dark or contains far more brown/sepia or blue and blue-green tones and when, as befits the fashions of the era, much of the clothing particularly that worn by the men is quite sombre and frequently almost monochromatic. Red is clearly used as a 'red flag' to suggest that Moriarty and also Moran are very dangerous but the colour also has associations with love, passion, sexuality and lust. This also links to both Moriarty and Moran because of Moran bringing the Professor messages written in the same code as in the book, the natural inference being that whatever love, passion, sexuality or lust Moriarty may have is directed at Moran, the only person who Moriarty seems to willingly let in on many of the secrets of the red book.

  
_Image: Moriarty's red notebook on the table during his book-signing, from Sherlock Holmes: A Game of Shadows_

  
_Image: the 'web' of red ribbons Holmes has created to show everything he believes to be connected to Moriarty, linked to a knife or dagger stabbed through a photograph of Professor Moriarty, from Sherlock Holmes: A Game of Shadows_

Red occurs again in relation to Moriarty in the red ribbons used by Holmes to create a three-dimensional 'map' or diagram of significant events, mostly crimes, that he believes link to Moriarty. He has used ribbons to connect news clippings and the like to a knife stabbed through a photograph of Moriarty. Holmes here then has symbolically penetrated Moriarty, suggesting a desire on his part to 'penetrate' and overcome Moriarty himself, although, as we will see later in the film, Moriarty is the one who will have Holmes literally penetrated, by having a metal hook put through his shoulder and stringing him up on it. This may also be taken though as suggestive that Moriarty is not unused to the concept of 'penetration' or more specifically with being penetrated, i.e. that he is not a virgin and has a sexual relationship probably with another man whom he sometimes allows to penetrate him. Moran is the only person in the film who seems to have the appropriate level of closeness with Moriarty and is a man who is also never even suggested to have a wife or girlfriend.

  
_Image: 'Le Diable' Tarot Card from Sherlock Holmes: A Game of Shadows_

Another symbolic element connected to Moriarty is that of the devil, which would seem to link in with the canonical words or phrases “deviltry” and “king devil” that are used in connection to Moriarty there. Here the symbolism of the devil appears in a deck of Tarot cards used by Simza Heron, where the card Le Diable (The Devil) is shown. Simza's brother still works for Moriarty, which leads Moriarty to suspect Simza knows too much about him and so he sends someone to kill her, so the card is clearly symbolically suggesting that Moriarty is 'The Devil'. The imagery on this card is interesting though for its depiction of the devil with chained demons. This may be suggestive of people being 'chained' to Moriarty because they cannot leave his employment except through death and it may be especially suggestive that Moran (who is perhaps more 'demonic' than most of Moriarty's other employees or associates) too is 'chained' to Moriarty through employment and that even he cannot leave Moriarty because he knows far too much about him. However when the card represents "Being seduced by the material world and physical pleasures”, this coupled with the fact that Moran does not show fear of Moriarty and instead demonstrates affection and concern for him, suggests Moran is not chained to Moriarty because of fear or money but because of the bonds of love, probably including sexual and sensual attraction. It may even suggest that Moran is essentially in thrall to Moriarty sexually in a relationship with elements of Dominance/submission (although from Moran's attitude towards Moriarty it seems clear such a relationship would be entirely consensual).

It is debatable as to whether Simza is ultimately a 'female love interest' for Holmes in place of Adler, as it seems a scene that more obviously showed her as such was cut from the film. Even so there seems to have at the very least been some rather heteronormative thinking at work in the character's inclusion. Moriarty's attempt to kill Simza ostensibly because he is concerned her brother may have revealed too much information to her is therefore further symbolically suggestive of Moriarty's lack of intimate interest in women – he attempts to remove her perhaps before she does become the replacement 'love interest'.

   
_Image: Holmes walking under the lychgate, back to where he will encounter Moran, in Sherlock Holmes: A Game of Shadows_

  
_Image: Moran telling Holmes how he has been to a wedding and a funeral at this same church before, from Sherlock Holmes: A Game of Shadows_

Moving on to Watson's wedding to Mary, here love and death are linked together as Holmes leaves the wedding, moving away from the beaming newly-married couple and walking under the lychgate (the roofed gate under which a body would have been laid prior to a burial, 'lych' meaning corpse) back to the car. Here Moran appears again, casually stating that he has been to a wedding there before as well as to a funeral, more explicitly connecting love and death together. This is an element that recurs throughout the film, the linking of love with death - Moriarty tries to have Watson and Mary murdered at the beginning of their honeymoon; Claude Ravache shoots himself after making a deal with Moriarty in order to protect the family he loves, and when Moran or Moriarty shows any kind of interest that may be connected to love, including symbolically sexual interest, in anyone else that person dies or gets hurt. When Moriarty and Moran seem both literally and symbolically linked with death, this also means they must be linked with love too – their love for each other. Also it suggests that Moriarty and Moran are only truly compatible with each other - their love or sexual interest must be only directed towards each other for it to not cause harm. When they do show an interest in some pseudo-sexual or erotic manner in another person then people get hurt or even die, but neither of them is shown causing any harm to the other. In fact they appear very close, showing a high level of trust in each other and clearly having great affection for each other. Therefore their regard for each other is not a negative thing, even if they are essentially bad people who do bad things to others; still their love for each other is not a bad thing, far from it.

Of course love and death have often been linked together, symbolically, in mythology, in psychology, and in sexual terminology - mors and amor; eros and thanatos, or the 'little death' of sexual orgasm. That Moriarty and Moran, both of whom have the word 'mor' in their names connecting them both to the Latin 'mors' (death) (as well as suggesting 'amor' (love)), and both of whom kill people, are connected to or directly symbolic of death is clear. Indeed Moriarty was essentially only created by Sir Arthur Conan Doyle to behave rather like the Grim Reaper and kill off Holmes, a character Doyle was tired of writing about, in _The Final Problem_ (the story which forms the basis of _Sherlock Holmes: A Game of Shadows_ ) and Moran's canonical appearance involved him trying to murder Holmes after Holmes's return from presumed death. But in this film they, through death, seem to be linked also to sex and love, in the way they target other lovers (e.g. the Watsons); in the often sexually suggestive manner in which they despatch men and, more directly, in the obvious intimacy that exists between them. They kill or try to kill others and others try to kill them but they do not try to kill each other. In a sense they represent death towards others but love towards each other.

  
_Image: Moran talking to Holmes with his back to him all the while, from Sherlock Holmes: A Game of Shadows_

Moran does not look at Holmes throughout this scene, implying disinterest in him and contempt for him and suggesting that he only has eyes for the Professor. Of further note is that he is shown rolling up a cigarette (complete with a close up shot of his hands), cigarettes being an obvious phallic symbol and one that occurs several times throughout the film as Moran is apparently a heavy smoker, although the sexual symbolism of it is perhaps more obvious in later scenes than here.

  
_Image: at the university, in Moriarty's study, a Schubert record playing, from Sherlock Holmes: A Game of Shadows_

In the next scene we meet Moriarty again but this time in his academic environment, where he appears as an actual professor and is packing to go off on a lecture tour. We see a gramophone needle on a record as it plays a Schubert piece, where the needle 'penetrating' a groove on the record may be construed as another phallic symbol, as perhaps is the telescope seen in the background, pointing slightly upwards (which is also reminiscent of the scope seen later on Moran's rifle, another phallic symbol). Also clearly this is a very masculine space with only men – male students, Professor Moriarty himself and then Sherlock Holmes – visible. Here also there is the first mention of the composer Schubert, of whom Moriarty is a great fan and who will be referred to again later in the film during a key scene. The choice of composer seems significant not only in the more obvious way (the use of the fisherman/trout imagery from _Die Forelle_ is utilised repeatedly) but because this may be intrinsically suggestive about Moriarty's queerness. Schubert himself has been seriously suggested by scholars, including Maynard Solomon, to have been 'erotically attracted to men' i.e. it has been seriously suggested that he may have been gay or bisexual. Also according to Joseph Kenner, a friend of Schubert, his music won him 'the heart of a seductively amiable and brilliant young man'. Has Moriarty also won the heart of a 'seductively amiable and brilliant young man' namely Moran in part through playing him (or perhaps even serenading him with) Schubert's music? It is certainly the case that Moran is portrayed as younger than Moriarty in this film, and Moran appears extremely devoted to him.

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_Images: Holmes's analysis of Moriarty's handwriting, from Sherlock Holmes: A Game of Shadows_

Holmes's comments when analysing Moriarty's handwriting about "upward strokes" and "lower zone" sound rather suggestive of sexual acts or body parts associated with sex. This coupled with his statement about Moriarty's supposed "pronounced inclination toward moral insanity" (particularly when he has just been visited by Moran in the previous scene, who was clearly sent personally by Moriarty) may be indicative that he knows that Moriarty's sexual/romantic relations with Moran are illegal and considered, at least by much of society if not necessarily by Holmes himself, to be a form of madness or mental sickness. The line, “Rest assured, if you attempt to bring destruction down upon me, I shall do the same to you” spoken by Moriarty (which is based on a line from the canon) could even be inferred to be a warning issued against Holmes not merely to stop interfering in his truly criminal activities but also suggesting that he is well aware Holmes is much like him in terms of sexual orientation/sexual activity and that if Holmes tries to expose Moriarty for that, he will do the same to Holmes in return.

During this scene other elements occur that may also confirm Moriarty's queerness. Here he lets Holmes know that he has killed Adler off, which as already mentioned is suggestive of Moriarty's own disinterest in female romantic interests. He also though denies Holmes's request to leave Watson out of the matter and almost immediately after this scene it becomes apparent that the 'regards' or the “wedding present” that Moriarty sends to the newly married Watsons is a group of people to murder them. This does suggest that Moriarty is no admirer of the institution of heterosexual marriage and that he is indifferent or even opposed to the idea of marriage to a woman, most likely because he is asexual, gay, or a combination of both. It also makes it clear that he knows Holmes loves Watson and that threatening Watson is a sure way to hurt Holmes. He does effectively the same thing later in the film in his final confrontation with Holmes, where he expresses his intention of coming up with a “creative” way of harming Watson and his wife. Moriarty knows that Watson is Holmes's most vulnerable point; he is well aware of the love that one man may have for another. This is highly suggestive that he understands this on a personal level, grasping that Holmes loves Watson because he himself loves Moran.

The attempted murder of Mary and John Watson on the train does fail, in part because of Mary taking the initiative to remove their first would-be killer from the train and in part because of Holmes's intervention. But the scene remains suggestive of Moriarty's attitude towards straight marriage when he has them nearly murdered even before they actually get to their honeymoon destination.

Other characters who become involved, even sometimes indirectly, with Moriarty also pay a heavy price. The character Claude Ravache shoots himself in the head after becoming entangled with Moriarty. Again this shows that people who get involved with them die – Irene Adler, Dr Hoffmanstahl, Meinhard, Rene, Claude, also various German soldiers and several of the Romani minor characters, and perhaps significantly, all of these characters who are male are shot using bullets or poison darts. Only Irene Adler is poisoned while a few other minor unnamed characters are killed in explosions. Simza Heron also pays a heavy price in the death of her brother, Rene, but although she is put in danger several times she is ultimately not badly physically harmed in any way.

Moriarty says to Holmes during their first proper meeting, “the laws of celestial mechanics dictate that when two objects collide, there is always damage of a collateral nature” which seems to be intended to mean that when Moriarty and Holmes 'collide' there is collateral damage because, although they are similar in many regards, they stand opposed to each other. But Moriarty and Moran are also two 'objects' whose 'collision' (coming together – professionally, privately, romantically, sexually) causes collateral damage not to them but to others, or sometimes harm does befall one of them but due to others trying to come between them. This does not mean that an intimate relationship between them is inherently harmful, but harm will befall those who try to come between them.

Not only do they kill various characters, several are injured due to involvement with Moriarty or Moran, and Moran himself is injured and it is presumed, although not confirmed, that Moriarty is pulled over the Reichenbach Falls to his death by Holmes, showing how repeatedly their association with each other can indirectly cause harm to others when others try to interfere with them - a form of collateral damage, and also how where they do associate with others then harm or even death tends to happen to those people. But they do not harm each other directly. It seems then they are truly compatible only with each other. Towards each other they only show affection, trust and concern. Their relationship is not portrayed as many villains and their 'henchmen' are, where the henchmen are essentially disposable, or where the criminal mastermind treats his 'underlings' with contempt. Even when Moriarty is trapped under the rubble of the fallen tower and factory, he is not the one who snaps furiously when Moran shows concern for him – he instead tells Moran he's all right and just to not “waste time” attending to him. Instead Moran is the one who verbally lashes out at the 'underlings', snapping at them, even viciously threatening to kill some of them if they fail to catch those who nearly harmed the Professor. Clearly then Moran is very different to the others who work for Moriarty, many of whom are considered completely disposable. The implication is that not only does Moriarty rely upon Moran in multiple ways from the significant to the more trivial, he also likes him, trusts him and values him as a companion as well as his right hand man.

  
_Image: Moran approaching Moriarty at his book-signing, watching Moriarty's admirers warily and passing him a note written in code, from Sherlock Holmes: A Game of Shadows_

Moriarty and Moran are next both shown to be in Paris, where Moriarty is signing copies of his book for his admirers. His pen (a possible phallic symbol) appears to point in Moran's direction as Moran approaches and sits beside him and then passes Moriarty a note written in code. Moriarty seems pleased to see Moran and Moran approaches him and sits beside him without any fuss or hesitation. This may be a way for them to flaunt their intimate relationship in front of totally respectable people in a rather formal setting, passing a 'secret note' between them in plain sight of everyone else. It is oddly reminiscent of schoolchildren passing notes between themselves behind the teacher's back, and the note also momentarily acts as a bridge between them. Their hands come close to touching here also but because they cannot actually touch hands here the note forms the physical bridge between them, allowing them to touch by proxy. Moran's finger tap when he passes the note to Moriarty also appears to be a subtle way to draw further attention to himself and to the note he passes to Moriarty but is actually needless as Moriarty clearly notices Moran's arrival and he can hardly be oblivious to Moran passing the note to him. This would seem therefore to suggest Moran does it to draw even more of Moriarty's attention onto him, no matter how briefly, likely as another way of flaunting their intimate relationship in a public setting in front of other people who would almost certainly disapprove of their relationship if it became known.

   
_Image: Holmes attempting to invite an unimpressed Watson to see Don Giovanni with him, from Sherlock Holmes_

  
_Image: Moriarty telling Moran he won't be able to see Don Giovanni, meaning that Moran is to go to kill Meinhard instead, from Sherlock Holmes: A Game of Shadows_

Also this scene shows that they likely go on 'dates' together including to the opera routinely and this was their back up plan for the evening if Moran was not to go to assassinate Meinhard. Moran would not have needed to purchase a ticket for Don Giovanni for himself otherwise. The inclusion of this particular opera also seems to be a nod to its mention in the first _Sherlock Holmes_ film, except there Holmes wanted to take Watson to see the opera but Watson seemingly wasn't interested in going with him. In contrast here Moran essentially states that he wanted to go and appears to be expecting to go with Moriarty. While this is almost certainly a coded way of conveying to Moriarty he understands the plot to assassinate Meinhard is on, that he also has a ticket for himself shows that he would have gone had Moriarty called off the assassination plan and genuinely would have liked to attend had he not had to work. In this regard then Moriarty and Moran appear to be even closer than Holmes and Watson.

  
_Image: Moran focusing on Moriarty's hands again, and him directing further wary looks at Moriarty's 'fans', from Sherlock Holmes: A Game of Shadows_

Throughout this scene Moran also shoots several wary looks at the men approaching Moriarty to have their books signed. There is certainly a protective element to this as Moran has good reason to be suspicious of anyone who gets close to Moriarty just in case they are someone who knows of his criminal side and therefore wishes him harm. But is it just wariness, or a flicker of jealousy towards anyone else who tries to hold Moriarty's attention for too long? Also it is interesting perhaps that they have gone to Paris together, a city widely deemed to be 'romantic' and, unlike Holmes and Watson, they have gone there willingly.

  
_Image: Moran walking away from Moriarty's book-signing, giving instructions to one of the men who works for him and watching him walk away, from Sherlock Holmes: A Game of Shadows_

When Moran leaves Moriarty at the book signing he walks away practically with a swagger in his step and with his overcoat totally open and jacket almost completely open (fastened only by its top button and with its flap pulled right back), meaning his crotch area is obvious as he approaches the camera, something which seems to be further highlighted by the positioning of his right hand, practically directing attention towards his crotch. This is suggestive of Moran as a cocksure, sexually confident man and may indicate how he believes that Moriarty will both reward him (for completing the assassination) and compensate him (for missing the opera) with sex later in the evening. He also, after addressing one of their other 'lackeys' and issuing him with an order, seems to direct a brief glance downwards towards the man's backside as he departs.

  
_Image: Moran emerging from his concealment in the shadows, cigarette in mouth, after Holmes, Watson and Simza have walked past him, from Sherlock Holmes: A Game of Shadows_

Backstage at the opera when Holmes, Watson and Simza walk past him, Moran is again in the shadows (again suggesting how he is closeted by necessity as a queer man in the Victorian era) but when Watson passes him he subconsciously appears to notice Moran or at least the familiar scent of his tobacco and Moran emerges into the light straight after this, a cigarette (that phallic symbol again) in his mouth and holding another phallic symbol, the rifle, although it is presently concealed (suggesting presently restrained or concealed sexuality). Moran's almost flirtatious relationship with both Watson and Holmes might indicate he knows of Watson's sexual history, perhaps even through direct experience, and that perhaps he suspects Holmes may also be queer, and is effectively taunting them with this knowledge, as a man who is closeted only by necessity but is still open and accepting about his sexuality himself.

  
_Image: Holmes inside part of the Don Giovanni scenery; Moriarty watching him from his box in Sherlock Holmes: A Game of Shadows_

During the opera scene again there is concealment, only it is Holmes who is concealed this time. Moriarty is up in his box, clearly viewable to all as he watches the performance. Holmes however is concealed inside part of the Don Giovanni scenery and sees Moriarty only through a hole. Moriarty though sees him and spies on him in turn using his opera glasses to watch Holmes find the chess piece he left to taunt him with. There is a suggestion here of Holmes trying to play the voyeur but instead he finds himself lured into a trap by Moriarty, who then turns the tables to become the true voyeur here. This further suggests that the concealed Holmes is more closeted and repressed about his sexuality contrasted to Moriarty who is open with himself about his own sexuality, but that Moriarty does know of Holmes's queerness. The idea of Moriarty watching him and seemingly inwardly gloating over his success in luring Holmes there is also suggestive of Moriarty genuinely having a voyeuristic side, one that could well be sexual in nature and directed towards men.

  
_Image: Moriarty watching Don Giovanni; Don Giovanni and the 'demons' onstage in Sherlock Holmes: A Game of Shadows_

Moriarty seems to be a great lover of music, including opera. Such a trait as enjoying opera has been viewed by some as a trait of the trope known often as the “sissy villain”, but Moriarty is not particularly 'camp' or effeminate, and indeed in some regards is decidedly not effeminate (he is a former amateur boxing champion for example). He is not therefore some manner of cliched camp and therefore heavily implied-to-be-gay villain. But he is a music-lover nonetheless, and his fondness for certain composers or operas may themselves be suggestive. As already mentioned, his fondness for Schubert is a possible indication of Moriarty's queerness because of speculation about Schubert's own sexuality. Now though we also see Moriarty watching a performance of Don Giovanni. He seems particularly rapt by the sight of Don Giovanni sprawling practically on his back on the stage surrounded by the semi-naked male 'demons', which is suggestive that Moriarty finds something enthralling in the music but also in the aesthetics of the scene. Again also Moriarty is associated with the colour red, with its connotations of passion and sexuality – he is shown against a red background, staring intently at the Don Giovanni scene featuring red demon or devil figures.

Don Giovanni the character is described as a 'rake' or 'libertine' in the full title - a rake being someone "habituated to immoral conduct" and a libertine being someone "devoid of moral or sexual restraints". This may be connected to both Moriarty and Moran who are both certainly immoral in many ways but specifically are likely both 'devoid of sexual restraint', being willing to engage in illegal sexual acts. There is no suggestion of anything truly untoward or abhorrent in regards to their sexual preferences (they are never, for instance, implied to be paedophiles) but men having sex with men would at that time, at least in Britain, be an illegal sexual act. 'Kinky' sex may also be implied, for example with elements of BDSM, which would certainly fit with Moriarty's dominant nature and Moran's obedience towards him.

  
_Image: Moran with his rifle on the rooftop opposite the room Meinhard is in; the bullethole in the window showing where Moran's bullet passed, positioned between two pillars or columns or similar; the hole in the wall showing where the bullet ended up after it had gone into and through Meinhard, killing him, from Sherlock Holmes: A Game of Shadows_

While Moriarty is attending the opera, Moran kills Meinhard by shooting him through a gap between what seem to be two pillars or columns, which seems symbolically sexual - the rifle (phallic object) projecting between two objects (which may stand in for legs/thighs) and the bullet penetrating into and through Meinhard. This is significant too because it is literally an act of extreme overkill – they have also arranged for the room Meinhard to be in to be bombed almost immediately after Moran shoots him, the explosion acting as cover to conceal the real target of the assassination. Presumably Moran shooting Meinhard first was to guarantee he was killed and make certain he didn't get lucky and escape alive from the bombing, which would necessitate them having to attempt killing him for a second time thereby risking making it obvious that he was the target. But was it really necessary to shoot him first? Probably not. Therefore the sexually symbolic killing becomes rather redundant, except perhaps for the fact that it _is_ sexually symbolic, therefore serving another purpose apart from ensuring Meinhard died – it provides us with yet another suggestion about the sexuality of Moran and, by extension, the man who actually ordered the killing, Moriarty.

Holmes traces the location where Moran fired from to a roof opposite the room where Meinhard died, finding several traces there of the Colonel's presence. Even in an era when forensics was in its infancy and Holmes is meant to be one of the few detectives who is interested in such things, one perhaps wonders was not Moran rather careless in leaving so many traces of his presence behind? Unless, of course, like him lingering close to Hoffmanstahl's murder scene seemingly deliberately waiting for Holmes to notice him, perhaps again he is 'flirting' with Holmes, and Watson too, wanting them to know that he has been there.

  
_Image: close up of Moran's hands as he rolls a cigarette; Moran setting a cigarette down in part of the decoration on the rooftop; Moran in a longer shot rolling his cigarette whilst standing next to his rifle prior to shooting Meinhard, from Sherlock Holmes: A Game of Shadows_

Along with indications of the presence of his rifle (his largest phallic symbol here) in the scrapes from the tripod, he has also left behind traces of his cigarette. In flashback we again see him rolling up a cigarette and dropping a few flakes of tobacco from it, as well as seeing how he set his cigarette down for a moment, appearing to place it into a small gap or hole on a part of the decoration on the rooftop. Through a queer lens, Moran's cigarettes are highly suggestive, being somewhat phallic in appearance and something that he obviously places in his mouth as well as placing one in the gap in part of the building's decoration. This therefore suggests Moran enjoys placing a 'phallus' in his mouth (performing oral sex primarily on men) as well as putting it in a convenient 'hole' (which could be a reference to both anal and vaginal sex, which would tend to support the idea that Moran is bisexual). But his dropped tobacco also seems suggestive, especially when coupled with a phrase that is uttered about him when Watson and Holmes discuss him, “Dishonourable discharge”. This appears to be incorrect terminology for a colonel but perhaps its use was intended to be a double entendre, a statement that Moran previously did something that forced him to leave the army, partly explaining how he came to be working for Moriarty in the first place, and being sexually suggestive. His sex life may well have been seen as “dishonourable” because he had sex with men, a then illegal and taboo act, thereby 'dishonourably discharging' (ejaculating) into or with other men, or allowing them to “discharge” inside him. The tobacco which falls from Moran's cigarette also appears sexually suggestive – tobacco falling from a cigarette suggesting semen falling from a penis.

  
_Image: close up of some shreds of tobacco dropped by Moran when he rolled up a cigarette; Holmes putting some of the tobacco under Watson's nose to get him to identify it, from Sherlock Holmes: A Game of Shadows_

Holmes seems to recognise the tobacco from elsewhere, connecting it to Moran, but it is Watson who has a more personal connection to it. Seemingly he smoked the same tobacco in Afghanistan and recognises the smell of it from his time there while in the army, not only identifying it here when Holmes directs him to it but he was also shown glancing in Moran's direction backstage at the opera. Although he walked past him there as he was more focused on other matters at the time, the smell of Moran's cigarette obviously subconsciously caught his attention which may suggest that not only does he recognise it more generally as something that everyone he knew smoked in Afghanistan, he may even recognise it specifically as something Moran smoked. Moran may even then be flaunting his capacity to kill people, knowing Watson and Holmes will recognise him from the traces he leaves behind, but also perhaps he is deliberately flaunting his so-called 'depravity' – his then illegal sexual proclivities - where he knows Holmes and Watson will find this. Given the history of both as well as their later antagonism in the film it is certainly plausible that Watson and Moran may have even had sexual encounters together whilst both were in the army, so Moran may be targeting Watson here in an even more personal, deliberately provocative way now that they have ended up on opposing sides.

  
_Image: discussion of Moran by Holmes and Watson, referring to him having been given a dishonourable discharge and him now likely being a "gun for hire", from Sherlock Holmes: A Game of Shadows_

It is also said of Moran by Holmes during this scene that “He's likely now a gun for hire.” This suggests that Moran only works for Moriarty for money and only as an assassin but this is clearly disproved by Moran being shown as close to and deeply trusted by Moriarty, as performing multiple different jobs for him (including personal errands such as purchasing Moriarty's opera ticket) and the deep level of concern for Moriarty and subsequent rage he demonstrates towards others when he believes Moriarty has been hurt. Although it may explain why Moran first entered Moriarty's employment after leaving the army, Holmes is wrong if he believes money is the only reason Moran still works for Moriarty, but a key moment of this film does involve Holmes making a mistake, when Moriarty tricks him into thinking he will set off the bomb at the opera instead of in the hotel where Meinhard is in a meeting. Holmes has therefore explicitly been shown to be mistaken before, which further supports the fact that he is wrong here also in effectively claiming Moran is purely mercenary in his motives for working for the Professor.

The phrase 'gun for hire' though, whilst therefore not being strictly accurate either, is perhaps also suggestive in other ways. We already have the inference of 'immoral' or illegal sexual acts from the talk of his “dishonourable discharge”; now it is also inferred that Moriarty 'hires' Moran for his 'gun'. When Moran's gun is a clear phallic symbol, this leads to the inference that Moriarty employed Moran both literally for his gun, as an assassin, but also in a more metaphorical or symbolic way, 'hiring' the use of his 'gun' (phallus). That is to say he may also have initially employed or paid Moran for a sexual relationship with him, but that Moran has remained loyal to him and has not hired himself out to someone else proves that their relationship has become about far more than simply just Moran's ability both as an assassin and as a sexual partner.

  
_Image: Moriarty reading a newspaper the morning after Meinhard's death when Moran approaches him, from Sherlock Holmes: A Game of Shadows_

The morning after the assassination of Meinhard, Moriarty appears seated alone reading a newspaper before Moran approaches him. Initially Moran appears slightly hesitant and addresses Moriarty in a more formal way than elsewhere (“sir” instead of “Professor”), with his lowered gaze suggesting deference and submission. They demonstrate elsewhere how close they are however, which means Moran's behaviour here is indicative of something else other than just two men with only a working relationship. The way in which Moran moves his gaze back towards Moriarty is suggestive of greater intimacy and familiarity with Moriarty. He appears to be reading Moriarty's reactions all the time, observing him to see how he should proceed and waiting for Moriarty to give him his attention. We can also rule out Moran being afraid of Moriarty therefore being afraid to interrupt him because Moran does not show fear towards him anywhere during the film. Yet Moran is the person who seems to be most aware of what Moriarty is truly capable of, as the person upon whom Moriarty relies more than anyone else. Others who worked for Moriarty, such as Irene Adler and Claude Ravache, were clearly afraid of him. Moran though is not. In fact even though he does know exactly how dangerous Moriarty is, he appears quite the opposite of afraid. As he demonstrates elsewhere (such as with the matter of the opera tickets or in the scene to follow with Moran's smile in response to discussion of Moriarty's 'little habit') clearly he is both immensely fond of Moriarty and extremely loyal to him. Therefore Moran's hesitancy and formality do not stem from fear of the consequences of interrupting Moriarty. One reason is likely that Moriarty seems engrossed in reading the newspaper and Moran simply doesn't wish to disturb him but knows that he has to so they can make it to their train on time. The second reason is perhaps far more personal but, bearing in mind the context of the scene, also makes sense.

Moran has missed out on attending the opera the night before with the Professor because of going to assassinate Meinhard, an action that was itself very sexually suggestive. Moran killed Meinhard on Moriarty's behalf using a rifle (phallus) to propel a bullet (penetration) in a death ending with an explosion (orgasm) so it may be inferred that the conclusion to the evening once Moran returned to Moriarty was activity that involved an actual phallus (or two) and actual penetration and orgasm as a reward from Moriarty to Moran for successfully assassinating Meinhard, as well as making it up to him for missing the performance of Don Giovanni that Moran was looking forward to. An obvious way anyway, even without the suggestiveness of the nature of Meinhard's death, to both reward and compensate Moran would be to have sex with him. Likely therefore Moran and Moriarty have just spent the previous night together, having sex for some of it yes, but also sleeping together, and waking up still side by side this morning. Now Moriarty is dressed formally and neatly and Moran too is properly attired and they are in a more public space, meaning that now Moran is obliged to behave in a formal, more detached way so as not to reveal their private relationship to anyone else. Still though perhaps he cannot quite put out of mind the memories of the night before, or even this morning, when he has seen Moriarty in an incredibly vulnerable position, during sex; in the moments during and immediately after orgasm; asleep or waking up but still in a sleepy state. Moran has probably seen this side to Moriarty that nobody else has. Perhaps he even, during that time, referred to him as 'James'. He has all this in mind then when he is obliged to pretend they are merely master and servant and he has to call him 'sir' for the sake of propriety, hence his hesitation. Also the way he looks up at Moriarty briefly seeming to see if Moriarty is going to acknowledge him in some more private way is further suggestive of them having shared some kind of great intimacy not so long ago. Moran's initial rather submissive posture and use of 'sir' also suggests submission to Moriarty of a different kind, in a sexual or kinky/BDSM setting rather than just an employer/employee relationship. Linking this back to the imagery of the Devil and the chained demons on the Tarot card shown earlier, as well as other imagery to come, such as Moriarty's symbolically-sexual dominance over Holmes while torturing him, it is easy to infer that Moriarty is a dominant person in the sexual or BDSM sense of the word, and given Moran's behaviour towards him and careful use of 'sir' here it is also easy to infer that Moran is Moriarty's willing submissive partner, used to calling him 'sir' sometimes not because Moriarty is his employer but because he is his 'master' in a kinky setting. To be a 'sub' requires after all not weakness but great strength of character, which Moran clearly has, being well able to act of his own volition and think for himself even though he receives all his orders from the Professor. It also requires huge amounts of trust, not fear, and we can see through their behaviour and Moriarty's reliance on Moran that they do indeed trust each other deeply, and Moran absolutely does not show any fear or mistrust of Moriarty. Also to have a Dom/sub relationship does not necessarily mean that this is something that the participants engage in all the time, only at certain times in private. This may even link in to the use of the word 'game' throughout – the title itself; Moriarty questioning Holmes about 'playing this game'. Moriarty is a man who enjoys games literally (e.g. chess) but also in a more abstract sense, manipulating and controlling people as if they are themselves chess pieces. Indeed this is effectively the entire point of his main scheme in the film, manipulating people and entire nations even to start a war. This very likely extends into his private, sexual life too where he may well play certain somewhat kinky (but entirely consensual) games with Moran. Moran may also have thoughts of this in mind when he refers to Moriarty in public as 'sir', therefore there may be a more tongue-in-cheek element to his use of 'sir' in front of others, mocking them for thinking he is being purely polite when the word has a whole other, rather more outré meaning to him and Moriarty.

We can see almost immediately after this that Moriarty still regards Moran in a friendly way, not a cool and detached one as would be expected if Moriarty truly didn't care for Moran and did only regard him as a servant or employee. As a disguised Holmes makes an attempt to steal Moriarty's red book, they are shown in conversation together, Moriarty obviously paying attention to whatever Moran is discussing with him. They appear as two men who clearly like and respect each other, before Moriarty asks Moran if they have time to go and indulge in his 'little habit' of feeding pigeons to which Moran smiles and answers simply, “Yes.” Note here the absence of formality – it is not “Yes sir” or even “Yes Professor”. Just a simple “Yes”, revealing in fact that they are extremely close and Moran's formality in using “Sir” previously is something he only uses when the circumstances necessitate it or perhaps when he is using it in a somewhat ironic way to poke fun at 'respectable' society.

   
_Image: Moran carrying the Professor's coat and hat, from Sherlock Holmes: A Game of Shadows_

Also interesting is both Moran's extreme protectiveness in driving Holmes away from 'his' Professor, and that Moriarty does rely on Moran not merely for carrying out assassinations but for such seemingly menial tasks as his time-keeping and bringing him his coat. Moran seems to act as much as Moriarty's secretary and valet as his chief of staff and assassin, which also tends to suggest a profound closeness with Moran extending far, far beyond a master and servant relationship. Moran not only actively tries to keep the Professor safe from harm in driving away the porter (Holmes) but it perhaps also suggests that Moran does not want any other man to touch 'his' man. Linking this back to the book signing and Moran's multiple wary glances towards Moriarty's 'fans', again one wonders if Moran is a little jealous of anyone else who shows Moriarty attention.

  
_Image: Moran and Moriarty talking together whilst walking; Moran reacting quickly to drive away the porter (a disguised Holmes) who tries to touch the Professor; Moriarty asking Moran if they have time for him to indulge his 'little habit' (feeding pigeons) to which Moran answers, smiling, "Yes", from Sherlock Holmes: A Game of Shadows_

Moran's amusement towards Moriarty wanting to go to feed pigeons also clearly shows his closeness to and fondness for Moriarty. Moran is the one who will get Moriarty to the train on time, who decides whether they have time enough for Moriarty to go to the park to feed pigeons first and who makes sure Moriarty is properly dressed and looks smart. Why would a man like Moran, a former army colonel and a seemingly ruthless killer, called simply a 'gun for hire' by Holmes, perform such menial roles for anyone except out of love and devotion? He appears more like a devoted boyfriend or husband than a servant.

  
_Image: Moriarty feeding pigeons, from Sherlock Holmes: A Game of Shadows_

The inclusion of Moriarty's 'little habit' of feeding pigeons does show a much softer side to Moriarty, particularly when pigeons are widely regarded as vermin and 'flying rats' (and Holmes himself seems rather scathing towards them), yet Moriarty seems genuinely to like them. Moriarty is not, as already stated, some kind of camp villain stereotype but he does have softer aspects to his nature – he likes pigeons, he loves music, he seems to be genuinely liked as well as respected as a mathematics professor, and he does appear fond of Moran. Even in a scene which revealed his ruthless nature, Adler's death scene, he still treated her with relative kindness, telling her he blames himself for her weakness rather than actively insulting her, and then allowing her to believe she was to be let go without harm. It is of course a sham and she had already been poisoned by that point, but that he did not physically assault her and did not even verbally insult her is at least suggestive that he has some little shred of compassion in him and that he was, to his way of thinking, trying to make her death reasonably 'kind'.

This portrayal of Moriarty also forms a contrast to various other portrayals of the character in having a 'softer' or more 'sensitive' side. Compare him to Eric Porter's portrayal in the Granada television series for instance. Moriarty there seemed to deliberately be shown eschewing anything 'softer' or more sensitive, appearing disdainful towards Holmes's violin for example. Porter's Moriarty did not appear to be anything but rational, logical and fixated only on his criminal activities. Harris's Moriarty though does clearly have a side that appreciates things that are not entirely logical or rational and are nothing to do with crime. He clearly has other passions, his love of music for instance, and shows affection. Despite then his capacity for cruelty, it is far more suggestive than other portrayals of the character that he does not only love Moran but would also willingly embrace some manner of intimate relationship with him.

  
_Image: Moran confronting Holmes at the weapons factory, leaning against the crates and only straightening up fully when he points his gun at Holmes while Holmes is drugged and overpowered by other men, from Sherlock Holmes: A Game of Shadows_

The man who Moran recently killed, Alfred Meinhard, according to Watson's description, "makes guns. Big guns." Moriarty has invested in Meinhard's company thereby buying into a company that makes and sells phallic symbols including, as Watson put it, “big” phallic symbols. As Meinhard is now dead Moriarty takes over his German factory and so Holmes and Watson's next encounter with Moriarty and Moran takes place here, where Holmes meets Moran in a huge room full of shells (phallic symbols) whilst Moran points another phallic object, a pistol, at him. Moran's brief 'flirtation' with Holmes here even goes so far as to allow Holmes to pick up a brand new pistol, meaning both now have matching guns (or matching phallic symbols), although it is Moran who seems to gain the upper hand still. Again here we have Moran standing in ways which seem to expose or direct attention towards his crotch area whilst he simultaneously talks guns with Holmes, which given Moran's character does seem akin to him 'talking dirty'. Again his overcoat is undone and this time his jacket is also completely undone, and while he confronts Holmes he repeatedly leans over or against the crates around and behind him rather than standing up straight. His posture repeatedly suggests his contempt for Holmes whilst also displaying his crotch area, which could well be construed as a sort of display of his sexual prowess or way of 'flaunting his assets'. He only straightens up to point his gun (or 'phallus') at Holmes and to look down at him as Holmes is drugged and overpowered by other men. Here Moran exits to deal with Watson, leaving Holmes to be dealt with by Moriarty. It is again suggestive of Moran's lack of direct sexual interest in Holmes – he confronts him, makes suggestive 'small talk' with him for a moment, but appears almost insolent, though perhaps also sexually provocative, in the manner in which he lounges about, and though he does point his 'phallic' gun at Holmes he lets other people actually grab hold of and overpower Holmes. Therefore whilst homoerotic and suggesting that Moran is not above 'flirting' even with his enemy, the scene does also imply Moran is really not that interested in Holmes in any meaningful way, including sexually.

  
_Image: Moriarty inside the weapons factory, holding a pen._

With Holmes taken away to meet Moriarty, again the phallic symbol of the pen comes into play now, with Moriarty shown with his back to Holmes, writing something, holding the pen very upright momentarily. Perhaps this mirrors the 'erect' telescope visible in his study when he first meets Holmes, and it may be a way of subtly asserting his (sexual) dominance over Holmes even though he appears to have no direct sexual interest in him, which is demonstrated in the same moment by him keeping his back to Holmes even as he talks to him. This behaviour is reminiscent of Moran's meeting with Holmes at Watson's wedding where he too remained with his back to Holmes throughout. This, particularly as he grasps the pen, is suggestive again that Moriarty's sexual or romantic interest, like Moran's, lies elsewhere and not with Holmes. If we take the pen to be a pointer it may even be rather explicitly pointing to where Moriarty's interest in this regard lies – upwards, and who is the one character presently shown to be 'upwards'? It is of course Moran, sitting up on the tower trying to murder Watson.The obvious inference is that Moriarty and Moran are only intimately interested in each other, to the exclusion of all others.

  
_Image: Moriarty talking about the composer Schubert again whilst looking at himself in a mirror_

Moriarty brings up the composer Schubert again, who as previously mentioned has been claimed to have been gay or bisexual himself, meaning making Moriarty a fan of Schubert is suggestive about Moriarty's sexuality. Moriarty seems to be actively checking himself out in the mirror before singing the song Die Forelle, initially to his reflection, seemingly serenading himself practically as if he is in love with himself. Moriarty, as Holmes mentioned earlier, is apparently deeply narcissistic. It is not necessarily proof of queerness but it is at least suggestive of his lack of deeper interest in most other people, and that perhaps for someone to interest him enough to have an intimate relationship with they have to love Moriarty as much as Moriarty loves himself. Moran, with his intense loyalty and devotion to the Professor and affection and concern for him, may well fit the bill.

  
_Image: a lackey putting the metal hook through Holmes's shoulder; Holmes strung up on the hook while Moriarty sings Die Forelle to his own reflection; Moriarty spinning Holmes around, his face coming momentarily very close to Holmes's crotch area, from Sherlock Holmes: A Game of Shadows_

Moriarty has Holmes tortured by being pierced through the shoulder with a hook and lifted off his feet. The positioning of the hook, through his right shoulder, is very close to where Holmes had driven the knife or dagger through the photograph of Moriarty we saw earlier and so is likely a nod back to that. The symbolism in the act of being penetrated by the hook seems clear, but note that it is somebody else, one of Moriarty's 'lackeys', who puts the hook through Holmes's shoulder and who haul him up, not Moriarty himself. Seemingly Moriarty is willing to have Holmes hurt through a symbolic, penetrative act by a man but is entirely disinterested in 'penetrating' Holmes himself. We also have further 'penetrative' symbolism in a close up shot of Moriarty placing the gramophone needle on the record but though the song that plays forms a backdrop to Holmes's torture, this other act of 'penetration' does not directly involve Holmes, nor does Moriarty's initial 'serenade'. Only after singing to his own reflection for some moments does Moriarty finally turn his attention to Holmes and effectively 'dances' with him, spinning and manoeuvring him around on the hook and ropes. For a moment or two Moriarty's head does appear to come very close to Holmes's crotch when he is spinning and pulling Holmes around by grabbing his legs. For a torture scene it seems strangely homoerotic, but it must be remembered still that it was not Moriarty himself who actually 'penetrated' Holmes with the hook. Also that he does keep his back to Holmes for much of their interaction, preferring to focus his gaze upon himself, except when he is inflicting pain upon Holmes.

  
_Image: Moriarty stooping over Holmes now lying on the floor, gripping the hook still in Holmes's shoulder; Moriarty gripping Holmes's wrist to keep him still; Moriarty crouching over Holmes so he can hear Holmes's answer to his question_

Things then do seem to become even more homoerotic between Moriarty and Holmes when Holmes is dropped to the floor still impaled on the hook and lures Moriarty down close to him to speak to him. Moriarty appears to almost lie on top of Holmes whilst grabbing the hook and gripping Holmes's wrist also. This after Moriarty sings appears almost as a mockery or parody of a seduction and love scene, one that causes Holmes great suffering and ultimately comes close to ending with the death of both of them when Watson collapses the tower onto the building they're in. Again this demonstrates that any time that Moriarty or Moran 'flirts' with anyone else, people get hurt. Moriarty's actions when he does finally directly interact with Holmes do suggest perhaps that he is not merely dominant more broadly but also sexually dominant. Clearly he does not mind a degree of physical intimacy with Holmes, even to the extent where it momentarily seems to resemble a sex or possibly a rape scene, but only to cause him pain. That he spends much of the scene with his back to Holmes and that he lets someone else deal with the act of 'penetrating' Holmes, coupled with this scene being interspersed with shots of Moran on the tower (another very phallic symbol) and holding a rifle (also another phallic symbol) while intent on killing Watson suggests that Moriarty's sexual interest is only in Moran.

Moran's rifles, pistols and cane are all phallic symbols which he uses to destroy or attempt to destroy those who would try to stop the man he loves or their relationship – Dr Hoffmanstahl, Meinhard and Rene Heron all die. All of these know too much about Moriarty and what he is capable of. And he is complicit in Adler's death even though she is poisoned not shot (itself a suggestive act, as she is the only woman and the only one who is poisoned). One wonders if any of these people who are killed off knew something about Moriarty and Moran's more intimate attachment to each other, adding an extra reason why they had to be disposed of. Moran also makes repeated attempts to kill Watson and does come extremely close to doing so. Perhaps too he considers that Watson knows too much now about his sexual orientation or about his relationship with Moriarty and so he also needs to die.

  
_Image: Moran up on the tower trying to shoot Watson; the cannon Watson aims at Moran; the extremely phallic-looking tower collapsing after Watson shoots at it; Watson looking rather stunned by what he's just done, from Sherlock Holmes: A Game of Shadows_

Whilst Moriarty tortures Holmes, Moran is up on the tower above, aiming his rifle down at Watson, aiming to kill the man he perceives as a threat to himself and Moriarty. The tower is one of the most obvious and certainly largest phallic symbols in the film. Moran does kill a German guard from there purely because the unfortunate man gets in the way. Not only is the tower itself phallic but Moran's rifle is another smaller phallic symbol also, and the bullets he fires into the German man and the others he fires at Watson (including through Watson's hat) are also sexually suggestive (penetrating a man's body, coming close to penetrating Watson). However Watson destroys the tower, collapsing it onto the main building (and on top of Moriarty), with yet another 'phallus' - a much bigger gun or cannon, causing Moran to comment, "That's not fair." This can be taken as Watson destroying Moran's 'large erection', the tower he was seated upon which as it is connected to the arms factory is likely actually owned now by Moriarty, linking the two together through the one giant 'phallus'. Watson comes close to killing Moriarty with it, the Professor still being inside the factory with Holmes, therefore he seems to be trying to destroy the Moriarty/Moran relationship by symbolically turning Moriarty and Moran's own 'phallus' or their own sexuality against them.

As stated earlier, it is plausible that Watson and Moran have some kind of history together as both were in the British army in Afghanistan. In fact it is Watson, through Holmes drawing the name out of him, who reveals Moran's name and identity to the viewers, even though Holmes appears to recognise Moran from the start of the film. It is entirely plausible that Watson may be bisexual and that he knows of Moran's sexual proclivities perhaps even through direct past experience with him. There seems to be a level of antagonism between the pair that is oddly personal and near the end of the film when Moran assassinates Rene Heron, Watson seems to be the only person who notices that Moran is Rene's killer yet he lets him go without making any attempt to stop him. It is suggestive of Watson either still having some feelings of attraction for Moran, or else that he allows Moran to escape at the end because he would prefer a far more personal confrontation with him. There may even be an element of jealousy therefore in Watson's destruction of the phallic tower Moran is sitting on (an act which also appears to cause the loss or destruction of Moran's rifle), collapsing it onto Moriarty and coming close to killing both of them. This act though fails to kill either of them and actually brings Moriarty and Moran into contact again. As Moran picks through the rubble to rescue Moriarty, mirroring Watson picking through the rubble to find Holmes (which is of course hugely suggestive that as Watson cares deeply for Holmes, Moran cares deeply for Moriarty), he is allowed a moment where he almost reveals his true feelings for the Professor even in front of others. He calls him 'Professor', not 'sir', and shows concern for him, even reaching out towards Moriarty as if to take his hand, but is quickly reassured by Moriarty that he is all right. Therefore the destruction of the phallic tower actually has the opposite effect to driving Moriarty and Moran apart - it momentarily brings them together, then allows Moran to demonstrate his extreme devotion to the Professor by swearing to hunt down Holmes, Watson and company, even risking his own life to get some sort of revenge for the Professor's brush with death and the destruction of his 'phallic' tower and his weapons factory.

  
_Image: Moran picking through the rubble of the tower and factory to find Moriarty, even offering him his hand; Moriarty assures Moran he's all right, from Sherlock Holmes: A Game of Shadows_

Moriarty's positioning under the rubble of the factory and tower seems also rather suggestive. Not only does it allow Moran to show momentary tenderness and deep concern for him, it briefly does show Moriarty as having a vulnerable side. He rolls over to lie on his back in a way which is reminiscent of the state he might well be in after sex or after an orgasm specifically. That it is Moran who first sees him in this state is suggestive that Moran has likely seen Moriarty appear vulnerable and 'exposing his underbelly' for a brief time during or after sex also.

Interestingly Watson's use of the phallic cannon also comes close to backfiring in another way – he seemed only to be trying to kill Moran yet misses him and demolishes the entire tower and collapses part of the building onto Holmes as well as onto Moriarty. Therefore he could easily have killed Holmes by mistake. Compared to Moran, seemingly Watson is even less precise and less careful in his use of guns, the inference from this being perhaps that while both have 'put themselves about' sexually, Watson has been even more careless than Moran in that regard. And there is also a scene after he has fired the cannon where he is seen lying down looking rather stunned, seemingly surprised by its strength and destructiveness. Apparently the exact size and power of this phallic symbol rather shocked him. It perhaps suggests Watson's relative lack of experience compared to Moran, more literally with big guns, but even perhaps more symbolically too, suggesting a relative lack of experience when it comes to sex. If we couple this with the inference of Watson having 'slept around' even more than Moran then we might take this to mean he is, like Moran, bisexual but that unlike Moran perhaps he is sexually experienced with women but far less so with men.

  
_Image: Moran shouting at the 'lackeys' to pursue Holmes and Watson, then swearing fiercely to Moriarty "I'll find them. I'll find them."_

  
_Image: Moran viciously snapping at some of the German employees before he plunges into the chase himself, from Sherlock Holmes: A Game of Shadows_

The following forest chase scene also includes elements connecting love and death. Most of the time Moran is ice-cool but his, as TV tropes describes the trope, “Berserk button” is pressed when someone tries to harm Moriarty. As soon as that happens he turns into a feral or wild animal, snapping and snarling, ruthlessly chasing his prey down and succeeding in downing several of them. Reassured by Moriarty that he is all right, Moran swears fiercely, twice, “I'll find them” before threatening one of the German men that “If they get away you are a dead man!” and then promptly charges into the forest, risking death himself in dogged pursuit of Holmes, Watson and co. There is nothing cool or rational about his behaviour here, only an irrational obsessive desire for revenge that is driven by love, where he threatens or brings death down onto those who wronged his Professor or even those on his own side who fail to stop those people escaping. He even fails to consider his own safety, and ultimately several of the German men probably die here and Moran kills definitely one but probably two of Simza's friends, shoots Watson in the side and gets shot himself by Watson as well as risking his own life because of the other Germans deciding to use 'Little Hansel' to violently blow much of the forest to pieces. All this because he loves Moriarty and is _so_ angry at him nearly being harmed. Not at all then the behaviour of a mere “gun for hire” or cold-blooded killer.

This scene also comes complete with lots of guns and noticeably erect and upright trees, again suggestive of phallic symbolism in a scene which also only features a single female character, Simza, with the rest being male. It also seems to continue Moran and Watson's dangerous 'flirtation' with each other, with the pair ending up shooting each other in the same area of their bodies.

  
_Image: Moran during the forest chase scene, picking up a gun from the ground mid-chase without properly stopping, from Sherlock Holmes: A Game of Shadows_

There is also another sexually-suggestive scene during the chase, where Moran, as he runs through the forest, executes a rather needlessly over the top slow-motion spinning manoeuvre, snatching up a rifle in the process. Although fleeting, the way it is slowed down and seems to deliberately present Moran's backside to the camera whilst he grasps yet another phallic symbol is surely suggestive of Moran 'presenting' himself to a male partner for penetration, and indeed he is 'penetrated' (shot in the side) shortly afterwards, by Watson. Moran's crotch area is prominently positioned then again when he is shot and is briefly brought down, ending up on his back, legs slightly parted and crotch area aimed towards the camera, a different position but one which again seems strangely evocative of a sexual position, even more telling when he has just been 'penetrated' (shot by Watson) and has blood (which could represent semen here) visible on his body. This action leads to Moran rather cold-bloodedly murdering an associate of Watson's just as they reach the end of the forest and make it to the train. Watson too is also wounded and bleeding because of Moran 'penetrating' (shooting) him, in the same location as he shot Moran even, demonstrating the violence of their 'relationship' in contrast to the loving, affectionate relationship which seems to exist between Moran and Moriarty. To further emphasise this point, shortly after this, presumably because of both the torture he experienced at Moriarty's command and the exertion from being chased by Moran and the Germans, Holmes 'dies' on the train, his heart and breathing seeming to cease. Although Watson is able to revive him, again the message is clear that when Moran or Moriarty 'flirt' with anyone else but each other, people get hurt and even die.

  
_Image: Moran shooting Watson in the side during the forest chase, and Watson shooting Moran in the side during the same scene, from Sherlock Holmes: A Game of Shadows_

Several times through the film Moran 'exposes' himself in that symbolically sexual manner as during the forest chase, but Moriarty does not. Moran is shown often with his coat open and his crotch area prominently displayed, or during the chase where he is viewed from the rear with his (clothed) backside momentarily displayed. Moran is also the one shown holding/using more obviously dangerous phallic objects such as guns and other similar objects (such as the rifle cane) and the one shown smoking cigarettes repeatedly whereas Moriarty only holds less dangerous phallic objects such as a pen or pencil or has them in the background of scenes and does not interact with them directly (such as a telescope). In the first _Sherlock Holmes_ film Moriarty was shown to have a concealed pistol of his own (on a device hidden inside his sleeve) and in fact was shown in one of the promotional posters for _A Game of Shadows_ holding a different gun but in this film now he seems to rely entirely on Moran to use guns on his behalf. His prior use of a hidden gun though does imply that while he is less 'sexual' (because he rarely uses that 'phallus' himself) than Moran he is not entirely 'sexless' and while he does keep his sexuality largely private he conceals it out of necessity but is willing to reveal it where necessary and to participate in some sexual activity.

  
_Image: promotional poster for Sherlock Holmes: A Game of Shadows, featuring Moriarty holding a gun, although he does not use a gun himself in the film_

  
_Image: Moriarty's pistol which he wore on a device concealed inside his sleeve, from Sherlock Holmes_

That Moran is the more 'sexual' one (perhaps experiencing direct sexual attraction; having had more sexual partners; possessing a much higher sex drive) of the two is implied by Moran being the one shown 'exposing' or seemingly flaunting his sexuality or sensuality more and repeatedly making direct use of more 'explosive' phallic objects (guns/similar) or putting them in his mouth (cigarettes). These imply Moran has had far more sexual experience including with men, his experiences likely including both anal and oral sex, whilst possibly Moriarty is asexual, although not averse to some manner of intimate relationship including some sexual activity (this demonstrated by the fact he has been willing before to use the more 'explosive' phallic objects including a gun).

While Moran does have his guns and cigarettes, Moriarty as already noted is often shown holding a pencil or pen, not only just to write but also as a means of subtly signalling with it, showing his agitation for example, or signalling to Moran with it is, which is still suggestive. On one level the difference between his 'phallic' objects (his pens, pencils, telescope, gramophone needle) and those shown with Moran obviously tells us something about their different natures and occupations – Moriarty is the professor, the scholar, the intellectual, while Moran is a soldier and hunter. But it perhaps also signifies something else, something rather more sexual. Despite their smaller size Moriarty's pencils and pens still are potentially phallic symbols, particularly when he often deliberately holds them in an upright manner, so it is perhaps significant that he communicates a hidden meaning through the use of a pencil to Moran during Adler's death scene. This use of them in conveying a hidden meaning may suggest therefore Moriarty's participation in 'hidden' (that is, necessarily kept secret) sexual or romantic activity. But that Moran's own phallic symbols are larger and more obvious, even though concealed in some ways (the airgun disguised as a cane; his rifle being concealed in a wrapping backstage at the opera; the use of a suppressor to limit the noise of the rifle shot), suggests again that Moran is the one more open and up front about his sexuality, probably the one with more sexual experience.

My own interpretation of all of this is that Moriarty is asexual, with no innate sexual attraction and little sexual experience prior to Moran but that there is certainly an element of sensual attraction to Moran, along with an awareness of Moran's desire for him which he is happy to act upon. Moreover elsewhere we have seen that this is a relationship with deep trust between both participants; obviously with great affection between them also, and one where the supposedly mercenary Moran risks his own life solely to try to avenge the Professor being nearly (but not actually) killed. Therefore it is not a relationship based solely on sex – far from it. These are two men who are incredibly close; they love each other.

  
_Image: Moran smoking a cigarette immediately after executing Rene Heron, from Sherlock Holmes: A Game of Shadows_

The last in a series of sexually-suggestive, 'penetrative' murders by Moran is that of Rene Heron, using a poison dart fired by Moran's cane. At the same time Moran is holding another phallic symbol commonly associated with him, his cigarette, which he then smokes, almost like a man smoking his post-coital cigarette, before he leaves the scene. Again it is shown that pain, death and destruction are the result of Moran, and Moriarty's too, flirtation with anyone. Rene, who worked for Moriarty directly, dies and his sister Simza, though only linked to Moriarty because of her brother, suffers the grief caused by Rene's death.

The scene also shows though that while Moran is a capable killer who seems to experience little remorse about committing various murders, he is deeply trusted by Moriarty. The Professor is not in the room to keep an eye on Moran and ensure he does as he is instructed but Moran still carries out his orders anyway. If he was actually in fear for his life, believing Moriarty might try to dispose of him as he disposes of everyone else associated with him to tie up all the 'loose ends', Moran could have run away while Moriarty was occupied elsewhere. But he does not; he remains and does the job he has been ordered to do. Also the fact is that Moran could kill Moriarty if he wanted to. Moran is closer to the Professor than anyone else, allowed a level of intimacy with him that nobody else has. He is also a capable killer experienced in using multiple weapons. Most importantly perhaps, Moriarty clearly trusts him. But Moran never tries to kill Moriarty and never has a reason to do so either, as Moriarty does not mistreat Moran or mistrust him, so instead Moran actively tries to protect Moriarty; he shows affection and concern for him even. Far from being a mercenary 'gun for hire' who would stab anyone in the back, even Moriarty, for enough money, Moran seems to trust, like and even love Moriarty enough that he is absolutely loyal to him, even if his loyalty to others in the past (such as the army perhaps) was much more fickle.

  
_Image: the moment after Moriarty knows that Moran has just successfully murdered Rene Heron, from Sherlock Holmes: A Game of Shadows_

During Moriarty's final confrontation with Holmes, even then the Professor is relying upon Moran and clearly thinking about him (and about Moran's phallic weapon) as he taunts Holmes. He is facing off against Holmes, an opponent with a mind very much like his who he has clear respect for; he has even said to Holmes his respect for him is the only reason Holmes is still alive. But even then he is obviously still thinking about Moran.

  
_Image: Moriarty draping a fur around Holmes's shoulders before they play chess during their final confrontation, from Sherlock Holmes: A Game of Shadows_

Moriarty's behaviour towards Holmes though is still 'gentlemanly' even in what is essentially a dual to the death. He puts a fur around Holmes to keep him from getting cold, even though he intends to kill him. It is perhaps reminiscent of his faux-kindness and sympathy demonstrated towards Adler as he was having her poisoned, but there is a noticeable difference here in that he never touched Adler. Towards Holmes though he is oddly attentive and even physically intimate with him, in draping the fur around Holmes. His behaviour here towards Holmes is not truly sincere, as though he respects Holmes he also despises him and ultimately wants him dead now, but it is suggestive that he is probably capable of being physically affectionate in a far more genuine manner with a man he truly loves.The way he looks at Holmes initially is strangely affectionate and there is a sort of twisted paternalistic element to some of Moriarty's behaviour which perhaps makes one think of an older man who might have a 'toy boy' lover whom he cares for very much. Moran is a grown man, certainly not child-like in any way (except for perhaps his petulant “That's not fair” when confronted by a bigger weapon than his) but he is younger than Moriarty. There are elements in the original canon which suggest Moran was essentially 'kept' by Moriarty, paid a small fortune by him for doing only a couple of jobs for him at times. That may cross over into this universe also, with the distinguished, respectable and, as it turns out, extremely rich older gentleman Moriarty likely taking the here much rougher, coarser, lower-class and younger Moran as his lover. Not quite a 'toy boy' or kept man, as clearly Moran does perform many varied tasks for Moriarty and does earn his keep, but close.

  
_Image: Moriarty telling Holmes why he likes Switzerland, from Sherlock Holmes: A Game of Shadows_

During this final confrontation with Holmes, Moriarty says that he likes Switzerland because “They respect a man's privacy here, particularly if he has a fortune” and then winks at Holmes. He is seemingly referring to the Swiss respecting his privacy about where his wealth came from, as much of it has presumably been gained illegally. But there is no reason to assume he does not have a double meaning here, especially when he is speaking with Holmes, a man he is aware is much like him in many ways. Moriarty has proven earlier in the film (around the time of Watson's wedding) and again during this scene (by again threatening to harm Watson and his wife) that he knows Holmes loves Watson. Adler's death left Holmes shaken but was not sufficient to stop him from pursuing Moriarty but it seems that Watson is Holmes's true weak point and Moriarty clearly knows this. Moriarty may know then that Holmes is like him in another way – he only forms very strong attachments to men, or to one man in particular. Therefore discussing matters of 'privacy' with Holmes in particular very likely does have the other meaning of referring to Moriarty's private life, sharing this with his enemy, yes, but an enemy who understands and even empathises directly with this element of his nature better than most. This again therefore implies that Moriarty is in a relationship with Moran that is in their home country both illegal and highly disapproved of, hence he appreciates the freedom both of having money and of being in a different country where people mind their own business more. This is backed up by the fact that although Moriarty is shown arriving at the building over the Reichenbach Falls and entering the gathering by himself, Moran has clearly accompanied him and has gained entry to both the building and the gathering somehow too. Wherever Moriarty goes, Moran follows, including to Switzerland.

Moriarty's antagonistic relationship with Holmes, whilst often rather homoerotic, is destructive though. They battle each other mentally and physically and they nearly kill each other, falling over the balcony into the waterfall initially locked in an embrace. It puts the final stamp on the idea that whenever Moriarty or Moran 'flirt' with another person, harms befalls them. Moriarty's relationship with Moran remains the one that does not cause either of them any harm.

There also remains the possibility that Moran rescues Moriarty. Moran makes his escape after executing Rene so he is left alive, very close by the location where Moriarty and Holmes go over the waterfall. If the already seriously injured and weakened Holmes survived the fall, so could Moriarty who was uninjured, seems relatively physically fit still and does potentially have Moran to rescue him. Since as of 2017 the film series has still not been continued, there is so far nothing, as there also wasn't in the original canon, to totally disprove the idea that Moriarty survived meaning the pair could have been reunited.

  
_Image: Watson with his cane (or swordstick) acting out Moran's shooting of Meinhard; Moran with his rifle cane shooting Rene Heron with a poison dart, from Sherlock Holmes: A Game of Shadows_

The Moran and Watson parallels have often remained unexplored in adaptations despite suggestions in the original canon that they are very alike. In this universe Moran is clearly framed as a mirror image version of Watson. Both were in the British army and served in Afghanistan. Both frequently make use of guns and both have a cane with a concealed weapon (Moran's a dart-firing airgun, Watson's a sword-stick) and are even shown holding them in similar positions and where Watson uses his cane to mimic Moran's rifle. Both shoot each other in almost the exact same position during the forest chase scene. They clash during the scene where Moriarty tortures Holmes, with Moran's determination to murder Watson seeming strangely intense, and revealing phallic symbols of ever greater size until Watson inadvertently collapses the tower by shooting at Moran with his 'big gun'. Both are invited to or are potentially going to attend the opera Don Giovanni (Watson in the first _Sherlock Holmes_ film, Moran here). And finally both are also clearly relied upon by their respective genius – Holmes relies on Watson and Moriarty relies on Moran. This is clearly emphasised during Holmes and Moriarty's final confrontation where Watson and Moran are both left inside the main ballroom to carry out their assigned tasks whilst Holmes and Moriarty talk. The obvious major inference of Moriarty mirroring Holmes and Moran mirroring Watson is that, as Holmes and Watson love each other deeply, so do Moriarty and Moran, and this is an idea backed up by their behaviour towards each other throughout.

Ultimately it cannot truly be proven that Moriarty and Moran in this film are a couple who love each other and have a romantic and sexual relationship. That there was some level of deliberate queer-coding of the two characters does seem very likely, but to conclusively prove that they are lovers is not really the point. The point is more that there are many, many suggestive and symbolic elements which when viewed through a queer lens can be seen as indicating that a/ both of them are queer and b/ that they love each other and have an intimate, probably romantic and sexual, relationship, the same as a great many people perceive Sherlock Holmes and Dr John Watson in both of Guy Ritchie's _Sherlock Holmes_ films. That there are also multiple elements which do clearly mirror the way Holmes and/or Watson are portrayed is suggestive at the very least that the film-makers and scriptwriters did definitely intend to show Moriarty and Moran as close to parallel the close Holmes and Watson relationship. What form this closeness takes is in the end largely up to the individual to interpret as they choose. But whatever interpretation people choose to take, that they are close, that they have affection for each other and that they trust each other are clear. Therefore that they are lovers remains a definite possibility.

  
_Image: promotional image for Sherlock Holmes: A Game of Shadows of Moriarty and Moran together_


End file.
